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      Brick-wrapped lobby by Merge Architects wins Gold in Brick in Architecture Awards

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      Promotion: more than 9,000 red bricks form a curved volume within the interior of this mixed-use building’s lobby, which has been awarded Gold in the Commercial category at the Brick in Architecture Awards.

      The lobby, which forms the entrance to an office building at Kendall Square, Cambridge, Massachusetts, has a brick curtain wall that was hand-laid.
      It was designed to create a visually striking yet functional circulatory zone, helping visitors and employees navigate the building’s wider offices, dining areas, wellness centres and community spaces.
      The lobby is lined with a curved structure made from 9000 individually-laid bricksWrapping around the perimeter of the interior, the brick-built surface incorporates a front desk, bench seating, lighting, an entry kiosk and a staircase. The project features brick manufactured by Interstate Brick and distributed by Consolidated Brick.
      Local studio Merge Architects designed the space and was implemented by mason company, JAJ Co Inc The designers said they chose to work with bricks as a building material with the goal of referencing New England’s local vernacular architecture.

      Digital signs are installed at evenly-spaced points in one areaThe project integrates interactive signage within hand-laid masonry, “overlaying the physical world with the digital”, according to the Brick Industry Association.
      A brick double-wythe screen paired with rectangular digital signs serves various functions: from conveying news and information about public events to displaying digital artwork.
      “This fusion of strength and transparency creates mesmerising patterns and textures as light filters through the brick, inviting admiration for the timeless elegance and contemporary allure that brick brings to architectural design,” said Trish Mauer of the Brick Industry Association.
      Balance is created by using opaque red bricks in tandem with translucent glass bricksThe structures are made by laying bricks in two different directions, creating a stimulating textural surface that encourages the interplay of light and shadow.
      “Course one moves tangent to the wall orientation, and course two moves along the north/south axis, allowing for a complex interplay of transparency and opacity as the curtain-like wall wraps the space,” the company continued.
      The curved form contains various furnishings and lighting systemsAt a certain junction, a gradient is created when the wall transitions between solid red bricks to translucent glass blocks of the same dimensions.
      The frosted bricks continue until they arrive at a glass-clad staircase. This element of transparency creates a light interface between the public space and the company’s office.
      Bricks were laid in two directions to create a layered effect”Combining transparency with solidity and low-tech materials with high-tech digital art, this lobby reinforces the company’s brand of integrating high tech with human-centric sensibilities,” the Brick Industry Association concluded.
      For more information about the project, please click here.
      All photography by Chuck Choi
      Partnership content
      This article was written by Dezeen for Brick Industry Association as part of a partnership. Find out more about Dezeen partnership content here.

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      Elisa Ossino focuses on “the tactility of the material” for limestone V-Zug showroom

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      Promotion: Italian architect Elisa Ossino has designed a “tactile” showroom in Milan for Swiss home appliance brand V-Zug.

      Overlooking Piazza San Marco in the Italian city’s Brera district, the space is organised into two areas – one that displays V-Zug’s home appliances and one that functions as an “interactive kitchen”.
      This was designed for visitors to “feel at home and experience appliances while enjoying good conversations”, the company said.
      V-Zug Milan overlooks Piazza San Marco in BreraOssino designed the space, which will act as V-Zug’s Italian flagship, using cocciopesto flooring and limestone walls rendered in soft colours inspired by the silver finishing of the brand’s appliances.
      “The narrative of the space focuses on the tactility of the material and the contrast between the mirrored surfaces of the V-Zug technological home appliances and the tactility of the stone, which is often sculptural,” Ossino told Dezeen.

      “All the materials in the space are on the one hand a search for the tactility of surfaces and on the other a search for colours,” she added. “Household appliances have mirrored surfaces that lend themselves very well to dialogue with any kind of material.”
      At the heart of the space sits a monolithic white limestone staircase, designed as a three-dimensional volume. A large porthole visually connects the upper area with the floor below.
      The interactive kitchen allows guests to experience V-ZUG’s home appliances in actionV-Zug wanted to challenge “the standard showroom” by offering guests an immersive experience during Milan design week, when they could watch chefs prepare dishes using the brand’s appliances in an interactive kitchen.
      Following the immersive experience, guests could browse an extensive materials library and sit around a long grey stone table while members of the V-Zug Gourmet Academy carried out demonstrations.
      “It is this theme in general that has somewhat suggested the entire formal layout of the showroom, which is played out very much on a balance between nature, matter and technology,” Ossino explained.
      A porthole visually connects the upper and lower areasV-Zug Milan was just one of several outposts opened by the brand in the past few months, following on the heels of showrooms in Vienna, Berlin, Hamburg and Sydney.
      “With the showroom in Milan, I tried to intercept some of the subtle themes that run through our imagination, our everyday life,” said Ossino.
      “We are witnessing on the one hand a great technological development – just think of artificial intelligence – in our daily lives. But at the same time we have a great need to reclaim something ancestral, a more humanistic design [that’s] closer to matter.”
      The architect also designed a series of installations for the space in collaboration with art studio Henry Timi, which were on display as part of this year’s Milan Design Week 2024.
      The studio is V-Zug’s Italian flagshipThe location of the brand’s showroom in Brera was not insignificant for the designer, who drew on the district’s “extraordinary” history when designing the space.
      “I would say that the whole space is about a meeting of matter, technology and craftsmanship,” she said.
      “In Italy, we have an incredible tradition in the world of craftsmanship and it is a knowledge that tends to get lost. There is a strong process underway at this time in history to valorise it, which is also very much linked to this ancestral need to reconnect with the material.”
      Guests can browse an extensive materials libraryThe space’s sleek lines and sculptural minimalism also pay homage to V-Zug’s Swiss roots.
      “For us, it was important to convey a sense of hospitality,” added V-Zug global interior art director Gabriel Castelló Pinyon.
      “We have tried to speak the language of the city: to be bolder and to work a lot with natural materials,” said the brand. “In Milan, people always expect something different. But it’s still V-Zug – it’s still minimalistic with clean lines.”
      V-Zug Studio Milan co-hosted an exhibition at Sala della Passione. Pinacoteca di Brera showcased an installation designed by Ossino in collaboration with Henry Timi. For more information, visit V-Zug’s website.
      Partnership content
      This article was written by Dezeen for V-Zug as part of a partnership. Find out more about Dezeen partnership content here.

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      Vitra extends European presence with showroom openings in heritage buildings

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      Promotion: Swiss furniture brand Vitra is expanding its European presence through a programme of showroom openings in renovated, distinctive historic buildings.

      The brand, which is known for high-end office and home furniture by leading designers, has embarked on a programme of showroom expansion and renovation to add to its global presence.
      “All Vitra showrooms reflect an agile and flexible platform to showcase our office and home concepts, including both Vitra and Artek,” said the brand.
      “We are keen to present the collaboration and synergies with our partners in spaces designed for communal work, activities and events.”
      It has recently opened or renovated showrooms in Amsterdam, London, Madrid, Oslo and Stockholm.

      Vitra recently opened a showroom in OsloVitra’s latest showroom opened last month in Oslo. Set within a 1930s metal factory in the resurgent Skøyen district, the understated interior was designed to contrast the industrial structure and set the base for the brand’s curated furniture collections.
      The space contains offices for Vitra local staff and also functions as a place for the brand to host architects and designers.
      It also opened a showroom in renovated building in MadridEarlier this year in Madrid’s bustling Salamanca district, Vitra opened a showroom within a 1920s art nouveau building originally designed by Spanish architect Antonio Palacios as a power supply facility for the city’s metro system.
      The space was renovated by Spanish studio Carlos Manzano Arquitectos to create a bright and open space that showcases many of the building’s original features.
      Topped by a distinctive steel and glass roof, the space combines office space for Vitra’s Madrid staff along with a showroom space, Vitra Colour & Material Library and a Task Chair Lab.
      “One of our main goals was to peel off added elements to reveal the beauty of the spacious interior,” said Till Weber, creative director interiors and scenography.
      “We also tried to maintain as much as possible of the original structure. For example, we tore out an entire kitchen installed by the former tenant to reveal wonderfully preserved brick walls.”
      Its Amsterdam showroom overlooks the city’s portIn Amsterdam, Vitra recently opened another showroom on the dockside in the city’s Houthavens district within an old industrial munitions complex.
      Vitra’s Amsterdam home was designed by London-based interiors studio SevilPeach, which was shortlisted for interior designer of the year at Dezeen Awards 2019.
      Described as “breathtaking” by Vitra chairman Rolf Fehlbaum, the pared-back space features several showrooms, a shop, offices, canteen, a workshop and warehouse spaces.
      Vitra’s London showroom opened in the Tramshed in ShoreditchIn London, Vitra recently opened a showroom in another heritage building – the Grade II-listed Tramshed in Shoreditch.
      Originally built as a power station for the East London Tramway in 1905, the building was renovated to draw attention to its original features including the central roof light.
      Along with the showroom openings, Vitra also recently renovated its Stockholm showroom. The brand also has European showrooms in Brussels, Copenhagen, Frankfurt, Prague and Paris as well as outside Europe in Los Angeles, New York and Tokyo.
      The Herzog & de Meuron-designed VitraHaus is its flagship storeThe target audience for Vitra’s showrooms are B2B professionals, dealers, artists and designers. For its private clients, Vitra caters via its authorised dealer network and its own online shops.
      Additionally, there is the Vitra Campus in Weil Am Rhein in Germany, which contains the Herzog & de Meuron-designed VitraHaus flagship store.
      “The VitraHaus is a unique building that we have been working on for more than a decade,” said Nora Fehlbaum, CEO of Vitra.
      “During this time, we have learned more about the building and about interiors in general: what does the building want? What suits it? What are the recipes for a good room? What is missing from our collection to make an interior even more meaningful or appealing? The interior we have now created reflects our answers to these questions and it is an ongoing project.”
      Vitra creative director interiors and scenography Till Weber said: “In addition to the Vitra Campus, the Vitra brand should also be tangible and visible at a local level.”
      “Depending on the location and surroundings there is a tailored concept, different colour scheme, a different product selection – but the Vitra DNA can always be experienced.”
      Find out more about Vitra’s showrooms on its website.
      Partnership content
      This article was written by Dezeen for Vitra as part of a partnership. Find out more about Dezeen partnership content here.

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      Bentley curates Scandinavian architecture and design travel experience

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      Promotion: in 2023 Bentley Motors launched an architecture and design-centred travel experience around Scandinavia, with highlights that included a stay at Wingårdhs’ forest hotel in Sweden and a tour of BIG’s studio in Copenhagen.

      The Extraordinary Journey Scandinavia tour was one of a series of curated travel experiences presented by Bentley in 2023, offering the opportunity to explore attractive destinations from behind the wheel of its luxury cars.
      The five-day, four-night tour started in Stockholm, where guests were collected from the airport in a chauffeured Bentley and taken to their first night’s stay in the world-renowned Ett Hem hotel.
      The first night’s stay was at Stockholm’s Ett Hem hotelWith interiors created by designer Ilse Crawford, the hotel is known for merging luxury with a feeling of home, with spaces that encourage guests to relax and mingle as if at a manor house.
      The hotel hosted a welcome reception, dinner in the library and a nightcap for the small party of guests on day one to get to know each other.

      On day two, attendees took the wheel of one of several Bentley models on offer and began the journey south through Sweden’s forests, with Scandinavia’s finest architecture and design destinations guiding the way forward.
      For lunch on day two, attendees stopped at NaturehouseFor lunch, the tour stopped at Naturehouse, a sustainability-focused lakeside spa by Tailor Made Arkitekter that merges the forms of a barn and a greenhouse, before continuing to reach the Trakt Forest Hotel in Småland in the afternoon.
      Designed by Wingårdh architecture studio, the hotel features just five suites that are raised high into the treetops on stilts, giving guests the chance to feel immersed in nature.
      The suites are “a true representation of Bentley’s design values of sustainability, materiality, and innovation” said the brand, and guests had the opportunity to relax in the sauna or hot tub before joining the hotel owners Sandra and Mattias Sälleteg at a drinks reception.
      The evening also included dinner in a forest near the hotel, which was made by Michelin star chef Niklas Ekstedt and celebrated natural ingredients coming together “to create something greater than the sum of its parts”.
      Lunch on day three took place at Wanås Hotel and Sculpture ParkDay three saw the group continue the drive south through Sweden’s forests and stop for lunch at Wanås Hotel and Sculpture Park, built around two converted stone barns with interiors by Kristina Wachtmeister.
      They then drove on through Malmö and across the Öresund Bridge, the longest bridge in Europe, connecting Sweden and Denmark, before switching to chauffeured transport once again for the final stretch of the journey to Copenhagen.
      With accommodation at the Nimb Hotel in Tivoli Gardens, guests had ample opportunity to explore Copenhagen, including dinner at a world-renowned Nordic restaurant and then a city tour hosted by the Danish Architecture Centre.
      Day four included a tour and lunch at Bjarke Ingels Group’s studioThere was also a tour of Bjarke Ingels Group’s studio, hosted by a member of the team who gave insights into their creative practice. Lunch was also held within “the beating heart” of the office.
      Bentley’s Extraordinary Journey continues in the UK in 2024 with a programme where attendees will experience a scenic route starting at Crewe, the home of Bentley Motors, to The Macallan Estate in Speyside, Scotland. The UK programme runs from 19 to 22 August and 2 to 5 September.
      For more information and to register interest, visit the Bentley website.
      Partnership content
      This article was written by Dezeen for Bentley as part of a partnership. Find out more about Dezeen partnership content here.

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      JEB acoustic partitions and furniture create modern campus for UOW College Hong Kong

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      Promotion: acoustic partitions and furniture brand JEB have provided interior solutions for the University of Wollongong’s new Tai Wai campus in Hong Kong, which aims to create an adaptable learning environment.

      The University of Wollongong (UOW) College Hong Kong campus in Tai Wai covers 15,000 square metres and supports 3,300 students with modern facilities including an auditorium, library and maritime laboratory.
      Hong Kong-based brand JEB was engaged to provide acoustic partitions and furniture solutions that could be adapted to support different styles of learning and encourage student interaction.
      The UOW College Hong Kong campus in Tai Wai is designed to be flexible and adaptableAt the same time, the team had to meet a design brief that sought to bring a taste of Australia to Hong Kong, with each floor of the building bringing to life a different element of the Wollongong landscape: the Pacific Ocean on the first floor, the urban environment on the second, and the mountains on the third.
      JEB’s Integra Operable Wall system is critical to the functional aspect of the design says the company, as it empowers educators to swiftly alter room sizes and layouts by unlocking the wall panels and moving them.

      The system operates on a door track and roller that allow panels to be turned around corners and stored out of sight, keeping the environment clutter-free and maximising available space.
      The space supports different styles of teaching and learningThe product “is a testament to JEB’s commitment to revolutionising the educational landscape and providing cutting-edge solutions that meet the evolving needs of modern learning environments,” said the brand.
      JEB made ample use of glass in its choice of partitions, to avoid closing off areas when there is limited natural light and to create an open-feeling atmosphere.
      For furnishings, JEB mixed custom solutions with a range of office products from leading local and international brands such as Vitra, Humanscale and Andreu World.
      JEB provided acoustic and furniture solutions for the University of Wollongong’s new Tai Wai campus in Hong KongWorkstations, cabinets and lecture tables were custom-made for the UOW College Hong Kong campus in Tai Wai. Movable desks were placed in tutorial rooms so that they could be easily reconfigured for group or individual work.
      In lounge areas, JEB sourced chairs suited to relaxation, while areas of open staircase seating were created to encourage casual interaction between students.
      “The deliberate use of partitions and furniture in the UOW College campus project in Tai Wai not only addressed the practical aspects of spatial flexibility and lighting challenges but also contributed to the creation of a modern, adaptable and student-centred learning environment,” said JEB.
      “The thoughtful integration of these elements has positively impacted the educational experience and reflects the commitment to innovative pedagogical approaches in higher education.”
      Partitions and furniture are key to the interior designJEB aims to deliver one-stop solutions to interior design, offering acoustic partitions, office furniture, bespoke facades and circular hygiene products.
      It also endeavours to act sustainably, operating a takeback programme that finds new homes for unwanted furniture.
      To find out more about JEB, visit the company’s website.
      Photography courtesy of JEB Group.
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      This article was written by Dezeen for JEB as part of a partnership. Find out more about Dezeen partnership content here.

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      Framery predicts focus spaces to be key office design trend in 2024

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      Promotion: the need for well-considered focus spaces will come to the fore in workplace design in 2024, driven by the uptake of artificial intelligence, according to office pod brand Framery.

      Framery says that the increase in AI in the workplace will result in it taking more responsibility for mundane, repetitive tasks, resulting in the need for additional focus spaces in open-plan offices to help support employees’ deep and focused tasks.
      “If it happens how it’s expected and AI takes more responsibility for repetitive tasks, the office design should reflect this development and support deep, focused work,” said Tomi Nokelainen, head of Framery Labs, the company’s research and innovation unit.
      Framery predicts focus areas will be the key office design trend of 2024According to Framery, while post-pandemic hybrid office design placed an emphasis on the creation of collaborative spaces and “flashy common areas embodying organisational culture”, the next phase of this evolution will centre on creating areas that minimise distraction and allow for focused work.
      “It’s noteworthy that employees value focused working spaces beyond collaborative spaces,” said Nokelainen. “With work complexity on the rise, there is a heightened demand for both acoustic and visual privacy.”

      The company points to the findings of research company Leesman, which has reported that workers are still choosing to stay at home for solitary work. Leeman’s research suggested that some working activities were “better supported at home” including individual-focused work and planned meetings.
      However, Framery says that when employees have the option to work from home, that may not be sufficient to fulfil their productivity needs.
      “It can’t be assumed that all employees have the luxury of a dedicated home office room, or are willing to invest in expensive desks or ergonomic chairs,” said Nokelainen.
      Office workers value focus areas more than collaborative spaces, Framery research findsFramery, a Finnish brand, was one of the first to enter the office pods space in 2010, creating soundproof booths that drown out external distractions so that employees can undertake focused work or conduct video conferencing calls.
      According to Framery Labs’ research, focus spaces are the number one desired perk for employees that would draw them into working in the office rather than at home and they address distractions to focused work, for example, noise.
      Only 33 per cent of employees report finding noise levels satisfactory in their workplace and dissatisfaction with noise has the strongest correlation to an employee saying that the design of their workplace does not support their personal productivity.
      The pods are soundproof so external noise is not a distractionThis can be especially consequential for neurodiverse people, who constitute around 15 to 20 per cent of the global population and who can have a greater sensitivity to sensory stimuli, according to the brand.
      With workplaces becoming more inclusive, the next step will be to design them to function as “a catalyst not a barrier to productivity”, said Nokelainen, with a recognition that different people have different needs.
      “There are no one-size-fits-all focus spaces – they can be everything from silent open areas, library-like spaces, private offices or pods,” said Nokelainen. “Each role and industry has their own special needs that must be taken into account.”
      The Framery One pod is Framery’s bestselling productThese considerations can be addressed with products like the Framery One, Framery’s bestselling office pod. A single-person workstation for focused work that is also optimised for virtual meetings, it includes soft lighting and adjustable ventilation to help create a personalised environment.
      In a closed pod like this, neurodiverse people can apply “sensory integration techniques”, said Nokelainen which means incorporating the sensory tools or approaches that promote calm and focus for them.
      There are also multi-person pods like the Framery Q Flow, one of the newest models. It is designed to help enable workers to achieve the “flow” state of mind, where work feels effortless and time switches off, and includes a height-adjustable electric table so that users can shift positions without interrupting their thought process.
      The office pods come with Framery Connect, an integrated workplace management tool that supplies detailed data and analysis around how often and when they’re being used.
      The pods include the Framery Connect workplace management systemFramery says it prides itself on the quality of its soundproof office pods, as well as having been among the first to bring the product category to the market. The company launched 13 years ago after its founder – Samu Hällfors – devised a solution to address the distraction caused by his boss’s loud phone calls.
      “Our founder and CEO Samu Hällfors invented the office pod category in 2010,” said Framery. “Now we have over 200 competitors globally. To ensure we stay the market leader we are relentlessly innovating to engineer the most advanced pod in the world.”
      Framery also has a sustainable and responsible ethos and has made a commitment to converting to a circular business model.
      To find out more about Framery and its products, visit the brand’s website.
      Partnership content
      This article was written by Dezeen for Framery as part of a partnership. Find out more about Dezeen partnership content here.

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      Building meeting rooms costs 55 per cent more than buying office pods according to research

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      Promotion: buying office pods instead of building meeting rooms could save companies in the US around $30 billion by 2030, according to research by soundproof booth manufacturer Framery and real-estate investor CBRE.

      Post-pandemic working habits are driving a transformation in office layout and design worldwide says Framery.
      More people working from home means employers are scrambling to use costly office space more effectively, while the increasing prevalence of video calls has resulted in growing demand for small, acoustically insulated meeting spaces.
      The coronavirus pandemic triggered a sea change in office layouts”Office occupiers are investing more and more into flexible spaces and different types of adjustable spaces to meet the demand of flexibility and to attract their workforce back to the office after the pandemic years’ remote working,” said CBRE’s Jussi Niemistö.
      A study by Framery and CBRE found that as well as offering options for changing office setups, pods are more cost-effective than constructing new meeting rooms.

      CBRE compared the costs associated with getting one-, four- and six-person Framery office pods with the cost of building meeting rooms of equal size in different cities around the world.
      The research indicates that many offices will need to be refurbished to accommodate new working demandsIt found that meeting pods tended to be significantly cheaper – with constructing equivalent meeting rooms costing 55 per cent more on average.
      Building a permanent phone room in a New York office is 155 per cent more expensive than getting a one-person Framery booth, according to the study.
      A separate study by real-estate firm Cushman & Wakefield found that more than 41 per cent of office space in the US is in need of refurbishment in order to support hybrid working by the end of the decade – around 241 million square metres.
      CBRE’s research indicates that meeting pods are a far cheaper option than constructing new meeting roomsFramery’s analysis based on CBRE’s research indicated that building new meeting rooms in that amount of space would cost more than $85 billion. By comparison, the same area of Framery pod space could be purchased for around $55.5 billion.
      Framery CEO Samu Hällfors also argues that meeting pods reduce office running costs.
      Framery claims to have manufactured the world’s first meeting pod”Pods are compact and make better use of existing space,” said Hällfors. “They allow for greater flexibility in rearranging and reconfiguring offices and they can be moved to a new location when needed.”
      “That all greatly reduces the lifetime costs associated with running an office, especially in larger cities with high-priced real estate,” Hällfors continued.
      Founded in 2010, Framery claims to have invented and sold the world’s first office pod, and its Framery O is the world’s best-seller.
      The study looked at costs of building meeting rooms in cities across North America, Europe and AsiaThere are now more than 200 pod manufacturers around the world, according to Hällfors.
      “The increasing demand for these office pods isn’t coming so much from management as it is from employees themselves,” he said. “Reimagining the workplace in these innovative, cost-effective ways is what is going to get employees excited to return to the office.”
      To view more about Framery and its products, visit its website.
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      This article was written by Dezeen for Framery as part of a partnership. Find out more about Dezeen partnership content here.

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      Kriskadecor uses aluminium to create “warm and inviting” interiors

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      Promotion: metal-chain manufacturer Kriskadecor is challenging the perception of aluminium as a cold material with a series of projects where it is used to brighten an interior.

      Kriskadecor has used its aluminium metal chains to adorn the interiors of public and residential buildings to create relaxing and welcoming spaces, ranging from bars to co-housing.
      Kriskadecor has used its aluminium chains to adorn a range of interiors. Photo by Lucía GorosteguiAccording to the brand, using aluminium to create an inviting interior comes down to the shapes and colours with in the material is finished and paired.
      For example, Kriskadecor specialises in versatile aluminium chains, designed to be used for everything from space dividers and wallcoverings to sculptural lighting and installations.
      It also installed them in a co-working space in Madrid”Despite being a metallic and seemingly cold material, aluminium can play a fundamental role in interior design when used strategically and in conjunction with other elements,” said Kriskadecor.

      “To counteract this perceived coldness, at Kriskadecor, we play with two concepts: colour and shape,” it explained.
      The brand is challenging the perception of aluminium as a cold material. Image by Petit OiseauAccording to the brand, its team of experts approaches “each project in a completely personalised manner” to ensure the products are used in the best way possible.
      Key examples of interiors where Kriskadecor has installed its aluminium chains include the LATAM Airlines lounge in an airport in Chile designed by local studio Grupo Arquitectos. Here, the brand suspended a sculptural installation formed of three bronze-hued cylinders above the bar area.
      They are suspended above a bar in a LATAM Airlines lounge. Photo by Aryeh Kornfeld”Grupo Arquitectos conceived the design of the VIP lounge for LATAM Airlines at Santiago de Chile’s airport as a warm and inviting space where passengers could relax and have a more enjoyable journey,” said Kriskadecor.
      “The floating effect of all the elements, in addition to the light reflecting on the chains, softens and provides a more pleasant and balanced ambience.”
      In France, Kriskadecor contributed to “an atmosphere of wellbeing and serenity for students and young professionals” at the Ecla Paris Villejuif co-living residences by Studio Chantal Peyrat.
      Colourful aluminium chains are used as part of a wider lighting scheme intended to “add dynamism” to the common areas and reception.
      In the workspaces, they are used as privacy curtains. Photo by Lucía GorosteguiMeanwhile, in Spain, a series of green-toned aluminium chain curtains have been used as more than decoration – lining the glass-enclosed meeting rooms of a coworking space in Madrid by local studio Ballarín Mendoza.
      They are used to add privacy “without obstructing the visual field” while allowing light to enter, Krisakdecor said.
      For more information on Kriskadecor and its aluminium chains, visit its website here.
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      This article was written by Dezeen for Kriskadecor as part of a partnership. Find out more about Dezeen partnership content here.

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